The A.V. Club's Scores

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For 10,447 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Badlands
Lowest review score: 0 A Life Less Ordinary
Score distribution:
  1. Positive: 5,587 out of 10447
  2. Mixed: 3,746 out of 10447
  3. Negative: 1,114 out of 10447
10447 movie reviews
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  1. Free Zone
    Like a lot of Gitaï's films, Free Zone is part history, part allegory, and part art. Both the history and art hold their fascinations.
  2. The Fountain
    Viewers not attuned to his (Aronofsky's) heartfelt, bombastic Richard Wagner-by-way-of-"2001: A Space Odyssey" lyricism might be better off looking elsewhere. But they'll never see anything else quite like it.
  3. Moog
    Short and shapeless but nonetheless welcome documentary.
  4. The Woman in the Yard
    Leave it to Collet-Serra to deliver a trim, serviceable product—something almost impressive when compared to some of Blumhouse’s other recent original efforts.
  5. Wounds
    Hammer’s character, Will, is an empty vessel, no more than an updated model of the jerkwad boyfriend in every ’80s slasher.
  6. Eros
    It's a triptych of erotic-themed short films directed by contemporary giants Wong Kar-wai and Steven Soderbergh, and nonagenarian master Michelangelo Antonioni. But the auteurist feast turns out to be a paltry spread, with one director on autopilot, another playing it safe, and the last apparently working on assignment for the European "Red Shoe Diaries."
  7. Barbarella
    It’s at once smirky and tedious, and a missed opportunity to boot.
  8. Pretty Lethal
    Pretty Lethal doesn’t even fully take flight once it finally escapes the realm of good taste, though it does feature a handful of standout moments and images. You might scratch your head a few times, but you also may enjoy yourself if you only want the filmmakers to embrace their unhinged high-concept premise
  9. The Accountant
    At various times, The Accountant aspires to a slick corporate-espionage thriller, a no-nonsense action flick, a tortured family drama, a quirky romantic comedy, and an earnest PSA about autism. At nearly all times, it’s preposterous.
  10. I Think We're Alone Now
    Unfortunately, I Think We’re Alone Now stops being interesting right when Grace (Elle Fanning) comes to town, mostly because she brings screenwriter Mike Makowsky’s trite ideas about loneliness and community along with her.
  11. Jim Brown: All American
    Brown sounds guarded throughout, and as a result, Jim Brown: All-American provides a curiously remote portrait that's often compelling, but seems to conceal as much as it reveals.
  12. Trolls World Tour
    In Trolls and the new Trolls World Tour, celebrity voices, high energy levels, nonsensical catchphrases, cross-promotional branding, cover-heavy soundtracks, and overuse of voice-over narration are all jacked up to 11, creating what are essentially marathon-length dance party endings. Yet somehow, this shamelessness gives the whole enterprise a kind of deranged honor.
  13. My Blueberry Nights
    Wong's visions of a New York café, a Memphis bar, and a Vegas casino--not to mention the swaths of beautiful country in the Southwest--have that enveloping quality that make his films so persistently seductive. The natives should feel flattered.
  14. A Letter to True
    The definition of a vanity film, Weber's latest opus lacks the focus even to qualify as dilettantish. Offering plenty for the eye and little for the brain, the film suffers from a dearth of ideas as it glides pleasantly but emptily from one gorgeous surface to another.
  15. White Bird in a Blizzard
    White Bird In A Blizzard, is another literary adaptation, gunning for respectability. It’s the most mainstream and accessible picture he’s (Araki) ever made, but this time his pendulum swung a bit too far in that direction.
  16. Liberté
    For the most part, though, Liberté is a drearily alienating experience; Serra’s depictions are characterized mainly by studied grotesquerie and tedious monotony.
  17. Broadway Idiot
    This documentary by rookie director Doug Hamilton plays more like a featurette on an American Idiot DVD than a stand-alone film.
  18. Yves Saint Laurent
    Yet another biopic that feels as though it were made by an accountant, Jalil Lespert’s Yves Saint Laurent epitomizes the mediocrity of a genre that often aspires to secondhand storytelling instead of first-rate art.
  19. A Little Chaos
    Watching A Little Chaos, one might assume that its makers were dramatically limited by the details of Le Notre’s life, when it was really just their own imaginations do the limiting.
    • 51 Metascore
    • 42 Critic Score
    Teen Wolf: The Movie
    Teen Wolf: The Movie is many things, but despite veteran director Russell Mulcahy’s brisk professionalism, a movie is not one of them.
  21. Star Wars: Episode I - The Phantom Menace
    Despite a shaky start and the presence of questionable elements throughout, by the time it arrives at its finale -- which copies Return Of The Jedi's triple-climax structure -- The Phantom Menace has won its place alongside the original Star Wars trilogy.
  22. Bright Lights, Big City
    Too bad he's caught in a movie that all too accurately captures the tenor of its time with its slick, superficial, coked-up, money-drunk emptiness.
  23. Predators
    The Predator series needed a shot of vitality, not another workmanlike go-around. SSDP: Same shit, different planet.
  24. Hotel for Dogs
    What does a film called Hotel For Dogs need in order to avoid being a watch-checker for grown-ups? Whatever it is, Hotel For Dogs doesn't have it.
  25. Just Wright
    With her (Latifah), Just Wright feels hampered by arbitrary contrivances; without her, it wouldn't be enough movie to exist at all.
  26. Assassination Tango
    A supremely unhurried filmmaker, Duvall lets the story meander sleepily en route to a conclusion as ho-hum as everything preceding it.
  27. The Transporter
    If anything, The Transporter isn't ludicrous enough; only one scene (a hand-to-hand showdown in the middle of an oil slick) reaches the inspired, delirious comic heights of the best Hong Kong movies.
  28. My Mother Likes Women
    Zips along on smooth formula plotting and some energetic performances, but its farcical elements have the tepid rhythm of a bad situation comedy, with silly misunderstandings and embarrassing moments that could have easily been avoided.
  29. Ender's Game
    Though it can’t overcome the source material’s problematic themes — namely, Card’s intentionalist morality, which prizes a character’s ideals over their actions — or its all-too-convenient characterizations, the film manages a sustained sense of momentum and tone that is rare for a contemporary, big-budget movie.
  30. Holy Rollers
    Director Kevin Asch takes protagonist Jesse Eisenberg on a dour, depressingly straightforward trip from naïveté to spiritual exhaustion.
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